PERKINS  LIBRARY 

Dulce  Universi^ 


Rare  Boole. 


C6e  ^c^omacftej 


5LVLNTY-TWO  YLARS  AGO 

THL  5CHOMACKLR  PIANO 
WAS  ONL  OF  FOUR:  THLRL 
WLRL  NO  OTHLR  AMLRICAN 
PIAN05. 

TODAY  THL  5CHOMACKLR 
15  STILL  ONL  OF  FOUR.  AL- 
THOUGH THLRL  ARL  NOW 
NLARLY  TWO  HUNDRLD  AND 
FIFTY  OTHLR  PIANOS. 


1838  1910 

THE 


SEVENTY-SECOND  ANN1VERSAR\' 
CATALOGUE  OF 

icliDinarter  fonb  anlilprigM|ianDS 

AND  THE 

Jchoraarher^ngdopian 
flayer- |5iano 

MANUFACTURED  B^'  THE 

SCHOMACKER  PIANOfORTE  MFG. CO. 

ELEVENTH  8c  CATHARINE  STREETS 
PHILADELPHIA 


^6e  ^cBomacfte;^ 

Pianos  Cost  More  to  Build 
Than  Any  Other  Pianos  in  the 
World. 

\  This  Were  a  Negative  Virtue 
had  it  not  Been  Proven  that 
the  5ame  Quality  has  Never 
been  Obtained  by  Anybody 
Else  at  Any  Price. 

And  it  is  Axiomatic  that 
there  is  No  Price  Too  High  to 
pay  for  Superlative  Quality. 


THL  5CHOMACKLR  PIANO-FORTL 
MANUFACTURING  COMPANY' 

Founded  in  Philadelphia  in  1838 

Incorporated  by  Special  Act  of  the  Pennsylvania 
Legislature  in  1864 


Presiijent  : 
\'ice-Pkesident  : 
Secretary : 
Treasurer : 


J.  15.  WOODFORD 
D.  P.  COMERER 
H.  C.  SCHOMACKER 
FRED  REBMANN 


Directors : 

J.  B.  WOODFORD  FRED  REBMANN 

D.  P.  COMERER  E.  F.  TIBBOTT 

H.  C.  SCHOMACKER  W.  C.  SCHWAMB 


Counsel:  WM.  L.  NEVIN 


THL   "CHILD   OF  5EVLN"  HAS   BE.COML  THL  YOUNG   LADY  OF  5LVLNTLLN 

e  interval  ,.f  ten  years  tlierc  liave  been  fireat  changes  in  the  de vein, ,nient  cf  the 


impr 


design  of  case  lia\  e  been  radically  changed. 

Critical  Philadelphia  has  given  the  Schomacker  Pian<.  its  endorsement  and  h 
tu  import  pianos  from  luigland. 

How  well  the  Schomacker  Piano  justified  this  expressed  preference  of  its  he 
the  fact  that  in  IMS  it  was  awarded  the  Great  Silver  Medal  ..f  the  Franklin  Inst 
and  in  l,S48  the  First  Award  and  Medal  of  the  American  Institute  of  New  York  a 
Institute  of  Baltimore  — more  and  greater  honors  than  h,id,  up  to  that  date,  been 
other  American  piano. 


1858 


THF.  "CHILD  OF  5LVLN"— NOW  A  WOMAN  OF  TWENTY-5LVLN  —  LNTLRTAI N5  IN 
HF.R   r'HILADLLPHIA  HOML 


>'^11K  S,  ln„„,„  k.r  l>i.,t,...,i>  whH  h  .lu-  u«.k  lur  luM  K-..,.n  tw,-iitv  \r.,i-  .r'o  1,,,.  ,K-v,-l.  .pr.l  infi  a 


Tlu-  Mu,  r>sn|  tlK-  rnl,r|.iis,.  i,r,  ,  ~sii  .,lr.  1  ll  ic  rn  ■.  1  i.  1, ,  i„  KS55..I  llic  iiivsciu  lactury  at  F:ic-vcnth 
and  Catharine  Streets,  wliii  h  u.i^  jir.iiK  1  nlar'^cd  in  1S7S. 


1 863 

THL  "CHILD  OF  SLVLN      NOW  A  WOMAN  OF  THIRTY-TWO    PLAY5  THL  SCHOMACKLR 
PIANO  AT  THL  WHITL  HOU5L  FOR  PRL5IDLNT  LINCOLN 

THE  vrars  fn.m  1  s5s  to  lN<o  s.vvv  imt  ..nlv  tlu-  m.  .st  moiiu-ntous  in  tlic  [...litirai  liistxrv  nf  .,ur 
r.mntr\  l.ui  ^1  rxt r.,-nl n,., rx  imp,  iftati,  .-  in  ilu-  ,lcvc-l( .pment  ..f  musical  interest  an.rniusical 

Mans  cnii-rtinns  unv  in  tl.r  field  u  h, ,  ,l)alli-n'^c.  I  tlie  sn| -ivniac  v  ,  .f  tlu-  plan. ,  which  vv,.u  such 
conspicuous  honors  in  1S4.=;,  1S4,S,  1S5J  and  1  S.SS,  hut  thr  S,  lio,,ia<  Lrr  .  outiinicd  t. .  m-i  xc  as  a  leader  in 
the  development  of  l.oil,  structural  improvment  and  ar.  Inlr,  tural  ,K-i'jn. 

It  will  he  noted  that  the  full  carved  le-  had  super>e,h  .l  th e  o,  t.ejon ,  a ud  the  hirue.  "  Square 

register  and  amplitied  tonal  capacity. 

In  l.S(.l  President  Lincoln  selected  the  Schomacker  Piano  for  Ins  use  at  the  Kxi^cutive  Mansion 
and  this  was  followed  hv  a  similar  de  mand  from  nearly  all  the  cabinet,  miiitarv  .md  di],l..matic  oihcials 
in  Washin-tou,  and  fixed  h.r  all  time  the  popular  and  artistic  status  of  dns  ii'iano  al  the  Capital. 


1 886 


THL  "CHILD  OF  5LVLN"-NOW  A   LADY   OF   FIFTY- FIVL  —  L15TLNS   TO   HLR  GRAND- 
DAUGHTLR'S   NLW  5CHOMACKLR  UPRIGHT 

AND  this  lady  — ..ne  n{  tlie  liest  ruprcsrntativcs  ..f  tl,,it  ni--t  critical  an.l  CMmpctrnt  ctrrie 
ciimprisfd  within  tlie  musical  lines. .f  I '1  lilailcl  i  I'l  r  T-  ■:;  •    i^n    s.uict\     ii..tcsuith  interest 

the  difference  between  the  inodern  upii-Jit      i;  ■   \'  r      ind  the  .piaint  little  si\-n,  tave 

square  instrument  . .n  which  she  learned  t.-  i-las  |..n\  -ri,Mi.  \,  i  .  i.ue.  Alth.uiuh  intmduced  ah.mt 
1870,  the  upri<;ht  jiiano  was  not  received  witli  immediate  la\ .  ir  — princip<illy  because  "it  did  net  Inok 
like  a  i)ianc)"  and  it  was  not  until  aln.ut  ISS.^  that  the  prejudice  was  nx  ei'Ctime  and  its  use  became 
general. 

^The  manufacture  .>f  upri-hts  and  lar-^e   in.-rease  in  the  drniand   f-r  urands  necessitafd  an 

In  18.S1  President  Garheld  hail  a  Schomacker  bian..  durin'^  his  short  iucumbnu  v  ..1  the  White 
House  and  one  was  later  furnished  t..  President  Arthur  by  whom  it  was  used  until  bSS5. 


A  PIANO  PARADOX 

NO  PIANO  LVILR  NLLDLD  AN  INTRODUCTION  LL55 

NO  PIANO  EVLR  NLLDLD  AN  INTRODUCTION  MORL 


NO  c,ilal<..L,Mu-  was  cxcr  sulmiittt-d  to  the  iiuisifal  wcirld  (K'strii)ti\-c  <<(  a  piano 
that  n,-r.U  Iru.T  word.  <.f  intr.  uhu  ti.  mi  than  tin-  Schom.irkrr. 

N..t  that  it  has  l.c-rn  ^o  l,,\ishly  A<\vrvU^r<\  .a^  ni,in\-  .ah  a-  lail  hrranse 
it  has  Ihtm  in  ronlinn.ais  cMsKairr  ha'  -.'Nt lU \  -t\\  o  N  r.n-  .in. I  the  hi-^t.-ry  ..f  the 
pian.i  laisi,,,-s.  ,lis,  Iom's  th.it  n..  pian..  rvry  livr.l  sr\vnty-tu..  var^  th.it  ha.l  not 
actual  nuait  as  a  hasir  and  h.-u  al  rraM-n  l..r  Its  h.n-r\  it\. 

Sc\ i-nty-tw  o  years  is  l)ul  a  tritlini;  jx'ri.Ml  in  the  w  i.rld'-  <  h n .n.  .^^y  Init  it  is  a 
loni:   and   cxia-rd  in,L,dy  i-\a-nttnl   <>nv  in   ninn.Ml  liisp.ry  .nid  th<-  <  h'\-.-h  .pni.ait  of 


h.ihiy  tlicav  ar.-  nn  ac  tiian  two  hun(ha-<l  diffcrrnl  pian..s  nia.ir  in  the  Tnited 
ates  al..n<-  an.l  prol.al.ly  a.  many  more  in  lun'op.-.  Scvaaitv-tw  .  -  var^  a-.,  there 
-re  i.rol.al.K-  lail  |..ur  an.l  of  th.-c  four  the  Sriioinarkca-  was  ,,n.'. 

(.i\a-n  tile  as.nranee  lii.it  tlie  .^tdioni.H'ker  I'i.iia.  is  .me  of  the-  oldest  American 
,mo.  th.it  has  Mir\i\ed  ,ind  tli.it  i t  ori-i n a  1  e,  1  in  rhiladelphi.i  then  the  conceded 
n-icil  caaitre  ..f  llie  iminlrx  -\\  li.  re  its  dexelopment  and  impro\a-ment  have 
aitinned  without  i  ii  1  erru]  it  i.  ai  f.  a'  se\ent\-  x.-.us  ,iud  yon  h.i\e,  uith.uit  further 
L^nnumt  or  intnxluct  i.  ai,  the  l.e^t  pos.iMe  -n.ir.nitee  ..f  its  ch.ir.icter. 

I'.ut  : 

1  here  are  equalK'  p.  it(  iit   m,i-..ii-.  \\h\   the  Scii.im.uk.r  I'l.mo  should  he  intro- 
II  la  eseiit  iul;  .luy  i  itlua'. 
mstrui'tion   trom   any  other  piano  in 
ip<Mi  (Mie  iilan  c<immon  to  all,  and  the 


du, a-d  with  a  fullness  <,f  det.iil  n.a  ne.a-ss.n- 
I  he   .Sehom.ick.a-  diffca-s   m.iteri.illy  in 
e.\ist(  nee.     All  others  are  huilt  snhst.int  i.ill 


dilf.aaaiee  in  (in.ility  and  i  h.iracter  i- 
and  kilior,  ,ind  the  care  ami  intelli,L;em 
minor  <  h.aiiLji-s  ,md  lmpro\aanents  w  1 


due 


the  diffcaaaua-  in  (|u,ility  <if  materials 
hich  del.iils  .ire  w..rked  ,,ut.  aided  by 
h,i\e  ,111  imp.a-t.int  innuence  in  the 


i'.ut  the  Sch..m.ickca-  h.is  ,i  pkm  of  constructi.  ai  r.i<lic.illy  different  in  princii)le 
from  all  others,  which  is  t'xclusively  its  own  and  protected  l)y  lettia's  patent. 


Nobody  denies  that  the  Schomacker  Piano  has  a  most  extraordinary  tone,  of  a 
character  peculiar  to  itself.  Nobody  hears  it  without  reco5.,mizint^  its  peculiar  charm 
and  no  musician  listi-ns  to  it  for  the  first  time  without  an  immediate  and  positive 
couN-iction  that  lu-  has  to  deal  with  an  orit,dnal  tone  standard.  The  si'use  of  respon- 
sibility which  a  trained  and  conscientious  artist  feels  un(K-r  such  conditions  is  not 
one  that  he  can  dischar^^e  lis^htly  :  It  is  ,i  \  astl\-  dirfcrcnt  nicnt.d  and  moral  proposi- 
tion from  that  inx  olved  in  the  //.vr  ^//.i// of  the  ax-era^n-  layman  who  disposes  of  the 
whole  matter  at  once  by  sayin^\  "1  like  it"  or  "I  don't  like  it." 

No  musician  will  fail  to  haw  his  attention  arrested  by  the  Schomacker  tone 
whi  n  he  hears  it  :  if  he  is  truly  an  artist,  as  well  as  a  musician,  he  will  re5.jard  the 
tone  as  a  direct  challenge  :  but  in  any  case  he  will  reco.L,Mii/e  its  commanding  ciuality 
antl  whether  he  acknowledges  or  disclaims  its  apju  al  to  his  personal  temperament, 
he  will  at  once  concede  that  it  can  never  by  any  chance  l)e  mistaken  for  one  of  the 
hoi-lH>lloi  of  i)ianodom. 

Conceding,  as  Philadelphia  has  for  half  a  century  antl  as  the  workl  must  sooner 
or  later,  that  the  .Schomacker  tone  standard  is  one  that  must  be  reckoned  with  : 

Conceding  also  that  the  Schomacker  differs  fundamentally  in  construction  from 
all  other  pianos  as  will  \)v  admitted  by  any  intelligent  piano  manufacturer  in  the 
country  : 

Therefore  it  seems  but  fair  to  assume  that  the  original  character  of  tone  is  due 
to  the  original  character  of  construction,  and  if  this  is  true  then  the  general  public 
at  once  becomes  interested  in  the  method  of  construction  which  has  produced  such 
unusual  results. 

This  will  explain  why  the  Schomacker  Piano  should  be  introduced  with  more 
attention  to  detail  than  any  other,  and  w  ill  fully  justify  the  pages  of  explanatory 
matter  and  illustrations  of  mechanical  details  which  follow,  but  to  which  we  should 
not  devote  so  much  space  if  the  Schomacker  Pianos  were  built  in  the  usual  manner. 


15 


THL  HONOR  OF  ORIGINALITY 

THE.  DIGNITY  OF  LLADLR5HIP 

TO  thr  S>-h<,ni,u-k.T  I'iaii..  mu.t  l.r  r.mrr.K-.l  [he  A\iiu\[y  :m<l  lion.ir  lliat  attaches 
tc.  .M-i-inalit\  anJ  mi,  ..•..till  1, -a,  i.-i'sli  ip  a.  uill  Ik-  iva.  1  i  1  n'  a. !  ni  i  1 1.-.  I  \>y  anyone 

W  hil.-  a.  1.11.. , km-  with  -ratilti.K-  tli.'  h.  n.'th.  lliat  it  lia^  .  1 . a'i xa 1  from  such 
(K-vl..-.  a.  Iia\.-  .  ii-i-in.at.-.l  with  ..tli.a'-.  an. I  -in..'  lic.an.'  .-.inini.Mi  property,  the 
Schonia.  h<  r  Conip.niy  ha^  \<-t  thr  -ati-la.!  i.  mi  ..1  lai..\\ni-  thai  it  ha-  .ntributed 
(|uite  a.  ninch  as  it  lias  rr.a-i\a-(l,  n..t  ..nl\  in  r.v.ait  yrar.,  Inil  ni  th,'  rarly  (Kays  of 
jMan..  .Ir\a-l.,pmrnt  when  .Aa-ry  n)..\.-  ua-  a  -t.'P  ni  lli,-  .lark,  an.l  .-a.-h  ..f  ih.'  few 
nianufacturrrs  ih.ai  in  .-xisLai..'  ua.  l.la/ni-  an  in(h-p(ai.liait  path  throuiih  an 
unknown  f..r,-.t   .1   t..  Ian.  al  .  1  iffu  ul  t  i.-v 

That  this  path  ua.  ...  .u.a  a-sslnlK-  l.la/o.l  I  ,y  the  chKa-  .Sch.  .niack.M'  as  to  have 
l)ronuht  hi.  plan.,  an.l  hi.  luisin.-ss  .ait  int..  llic  open  in  later  years  was  a  feat  that 
onK-  thr.'.-  ..tli.-r.  a.     .nipl  i^he.  1. 

J'lUt  in.li\-i.lnal  aelii.-\a-ni.-iit  ■..-eni.-.i  t..  nu-an  ni.ire  tli.-n  than  now. 

•lo.laN,  whil.-  a  nia|..rilN-  ..!  ni.  ii  appr.-.  ial.-  an.l  aim  at  p.-r...nal  In.livi.hialitv 
and  ,ar.-        a-.-  t..  k.a,,^  .  iii.  r.-  imilat.a.,  .a'  a..i-n.-.l  a  p...iti.ai  a.  .aie  .>f 

a  "l..t/'  \.-t  tli.-.<-  .am.-  m.-n  uiil  <-nt.  r  tla-  pian..  manufa.  turiii-  lm-.in.-.s  and 
1„-  .-.mt.-nt  t..  l.uil.l  plan...  lik,-  ,-\ . -r\- 1 ..  u  1  y  eU,-,  a\ail  them..-l\-es  .,f  the  ideas  of 
otiier.  and  ..aitrihnt.-  n.ahin-  t..  th.-  -.-m-ral  fmi.l  ..f  i  n  f .  .rmal  i.  mi  a\ailak)le  to  the 

\\\-  ar.-  pr..lMl.l\  ^.,1.-  in  ^,,\in-  that  laa  m..r<-  liian  ti\a-  man  u  I  a.- 1  u  r. -r.  have 
c..nlril)iil.-.l  anythinL;  ..|  ]  .a  i ,  a  ii .  m  a ,  t  i.ra.ti.'al  vain.-  in  t..nal  .  l.-\ .-1.  .pm,-ii  t  or 
me.-hanieal  .'on  st  rue  t  a  a  i   in   ih.-  k..!   titt\  yi-ar.. 

When  a  man  .leci<K-s  t..  en-aL;a-  in  the  m,nuifa.-t  nr.-  ..I  plan...  h,-  n.nally  l.nys  a 
j.i.ni..  fr.im  .an-  ..f  the  f.-w  leadini^  mal^ers,  an.l  pr.u.-.-.l.  1..  ...p\-  the  ^.al.-  and 
api.r.  ipriati-  e\-er>-  i.i.-a  ,a\ailaf)le  with.uit  so  nuuli  a.  .in  aekm  .wl.-.  1  L,Mii.-n  t  or  a 
thank   y.ai  t..  the  mak.-r  there..!. 

.\n.l  aft.-r  all  h.-  hn.is  that  h.-  hasn't  a  pian..  hk.-  th.-  ..riyanal,  n..r  anything 
ri-'.<-ml)iinL^  it. 

I'.ul  why  .iidn't  h.-  Mrike  ..iit  ..n  ..ri-inal  lin.-s  an.l  m.ik.-  a  new  seal.-  f..r  himself  ? 
I'lu-  i-esi-arehes,  (-.\i)eriments  and  dc-ductioiis  ..f  Ilelmholt/  and  other  scientists  are 
K, 


C0e  ^c5omacfte;t: 


available  to  the  whole  world  and  were  at  his  command  just  as  they  were  to  the  staff 
of  the  maker  whose  scale  he  copied. 

Yes,  but  it  costs  money  to  buy  brains  that  can  take  this  mass  of  scientific  tlata 
and  apply  it  to  the  practical  solution  of  the  intricate  problems  in  acoustics  which 
are  involved  in  piano  construction. 

And  it  is  easier  and  cheaper  to  steal  tlu'  brains  of  others  than  to  buy  them. 

And  it  is  still  easier  and  still  clu-aper  to  get  along  without  brains  entirely,  which 
can  be  done  up  to  a  certain  point  if  one  is  content  to  take  (iiiy  i)iano  for  a  model 
and  build  tlu-m  in  any  way  so  long  as  they  preserve  the  form. 

And  the  market  is  Hooded  with  i)ianos  of  this  sort  —  made  by  men  to  whom  a 
piano  is  a  i)iano  so  long  as  it  makes  a  noise  :  men  to  whom  all  pianos  are  alike  and 
to  whom  all  talk  of  tone  (luality  is  as  unintelligible  as  Choctaw. 


NOBLL55L  OBLIGL 

SOME  recent  events  in  the  liistory  of  the  Schomacki-r  Company  were  calculated 
to  demonstrate  pretty  accurately  who  were  its  friends  and  who  were  not. 

For  some  reasons  that  are  obvious,  and  for  some  that  would  not  be  fully 
understood  without  a  more  lengthy  explanation  than  is  jx.ssible  oi-  exeii  desirable 
here,  we  take  a  peculiar  satisfaction  in  acknowledging  that  the  most  marked  cour- 
tesies, the  most  cheering  words  of  encouragement  and  the  most  aijpreciative  and 
flattering  words  for  the  .Schomaeker  Piano  and  reputation  came  from  the  ivw  really 
great  manufacturers  who  maki'  the  few  really  great  pianos. 
We  might  ha\-e  e.\i)ectt-<l  it. 

We  might  havi-  known  th<it  men  l)ig  enough  and  broad  enougii  to  ha\-e  l)uilt  up 
the  big  industries  which  they  direct  would  ha\x-  been  big  enough  and  l)road  enough 
to  say  just  what  they  did  say. 

And  they  knew  piano  tone  absolutely  Liicic  it  and  could  recognize  it  wherever 
they  found  it  else  they  had  ne\-er  made  tin-  tone  their  own  pianos  contain. 

Nevertheless  it  was  generous  and  honorable  as  well  as  just  and  politic  for  them 
to  say  that  which  many  had  neither  the  wit  nor  the  disposition  to  say. 

There  /.v  something  in  this  world  beside  ljusiness  and  dollars: 

But  vww  if  there  wi're  not,  it  had  still  been  good  business  as  well  as  good 
manners  to  say  just  what  they  did: 
\Vc  shall  not  forget  it. 


THL  M05T  LXCLLI5IVL  PIANO  IN  AMERICA 

FOR  move  than   half  a  crntury  nt   ihr  s,  \ ,  iun -lu . ,  yrai  s  that  it  lia-.  brcn  in 
cxi^lcncr  this  piano  has  (uaaipird    th.'  iiiii.iiic  pn^itioii  <.l"  l)rin;4   the  most 
(■.\ihiM\-r  piaiin  ill  AnK-riia  if  imt  in  the  \\<nl(L 
It  had  its  hiilli  in  rhihiilrli)hia  at  a  time  when  tlie  (Juaker  City  was  the  most 
exaetiiiu:  inii^i.  al  c  ity  and  the  rec( il^ii i/ed  musical  centre  ef  the  United  States. 

Mu-ieal  (  liiii^  and  nin^ieal  people  who  at  that  time  were  nearly  all  comprised 
within  ^.Miailx-  .  X.  luM\.-  1 1  nes  — because  nobody  but  wealthy  ])Cople  could  then 
alhad  to  nidiilL^c  ihcpa-^iou  tor  music  and  the  ])osse- sion  of  a  piano  was  ,i  mark  ot 
^o,  ial  and  artistic  di-,tniction  —  thi.  exclusive  element  — the  social  clientele  of  I'hila- 
di-lphia — the  llowcr  of  American  society — which  had  previously  bought  il-^  ])iano-^ 
mainly  in  London,  at  oner  iecoL,Mdzecl  the  superiority  of  the  Schomacker  I'iano  ami 
exti-nded  to  the  - 1 ru^-L,d i ul;"  youni,''  manufacturer  its  patronage  and  t'ncoura.Ljemiait. 

d die  i)UNinc^s  i,Mew  rapidK',  necessitating  frequent  increase  of  manufacturini,'- 
facilities,  yet  from  the  l^•^t  year  to  the  present  the  entire  output  has  i)ractically 
be.-n  ab.odie.l  in  l'liiladeli)hia,  or  at  least  in  Pennsylvania,  and  these  pianos  are 
.till  to  br  f.mn.i  in  a  majority  of  the  noble  old  man. ions  lor  which  PhilacU  lphia  and 
it.  .an  iron,  arr  faiiion.  a.  well  a.  in  the  palatial  modern  residences  ,in<l  \ilia.  that 
excite  Uir  admiration  of  \i.iior.,  and  in  niaii\-  thousands  of  the  comfort. ilde 
dw  cllin.Li.  that  r  e\  idenec  of  .u  ti.tie  ta.te  and  rehncment  w  hich  h,i\  e  L^iven  a 
m.u-krd  indi\ idu.ility  to  this  "t  ity  of  lb. me.." 

It  i.  true  th.it  ni. uu-  .'^chom.iekrr  I'i.mos  h.i\c  been  sold  in  Wa.hinLClon  as  a 
result  of  the  prcderem-c  L,M\cn  th.it  instrument  by  e.irh  succ(,'ssi\e  I'residiait  anil 
111. my  diploni.itie  oflici.ils  lor  .1  jM-riod  ,,f  forty  yens,  ,ind  the  111. my  .iw.nds  ;uid 
honors  (  onharod  h.i\c  -vsultrd  in  ,1  drm,m<l  from  olli.  i.ils,  ropres.-nt.uixc  men  ;ukI 
people  ,,f  proininiaico  Ironi  e\aa\-  st.itc  in  the  I'nion  ;  but  the  f.ict  rrm.iiiis  ih.it  : 

i  here  h.is  never  bo.ai  .ni\-  <ir-,ini/ed  effort  m.ide  to  sc^ll  the  .Schom.icker  I'i.inos 
outside  of  I'hil.idelphi.i  .md  tiibut.uy  tcaritory  : 

d  h.it  iMMctic.illy  the  (aitire  product  for  s.wenty  years  has  been  sold  in  the  City 
of  I'hil.idelidii.i  .uid  \iciuity  : 

That  in  this  loe.ilitv  the  deiii.ui.l  h.i.  been  .ilmo.t  wholly  from  the  most 
ex.  lu.ixc,  rei'med  and  mn.i>a!  eirele.,  ,nid  the  immic  ip.il  oftici.ils  with  hardly  an 
e  xception  .nv  .ind   h,i\e  .ilw,i\.  been  p.itnins  of  the  house. 

It  1.  th.avfore  prob.ibly  true  th.it  110  other  i.i.ino  c.mp.iny  in  the  worl.l  that  h.is 
,itt,iine<l  ,in  ecin.il  .lei^ree  of  ] . loiii i IK uice  .iiid  111, i.L,Mi i t iide  e\er  h.id  its  entire  product 
.ib.orb.-d  ,  \,  lu.i\ely  in  the  city  w  henuii  it  w.is  manufactured. 


THL  5LN5L  OF  AB50LUTL  PITCH  AND 
THE,  SE,N5L  OF  ABSOLUTE,  TONL 

TIIER]-:  arc  a  fc-w  people  so  supiTsi-nsitive  to  musical  pilch  that  they  can  tell 
you  at  once  the  exact  pitch,  accordini^  to  the  diatonic  scale,  of  any  sound 
they  may  chance  to  hear.     Thus  they  will  tell   you  in  what  key  a  clock 
may  l)e  tickinj^  or  a  steam  whistle  sounding  and  if  a  piano  key  is  struck  in  a  distant 
room  will  nanu'  the  key  without  hesitation. 

This  faculty  is  a  natural  yift  and  cannot  be  acquired.  It  is  called  the  sense  of 
Absolute  Pitch. 

The  few  hypersensitives  of  this  class  are  well  known  in  musical  circles  and  have 
been  the  subject  of  much  scientific  debati-. 

There  are  also  a  fvw  supersensitiws  who  are  shifted  in  the  same  manner  with  a 
sense  of  AbsoUite  Tone  :  that  is,  they  know  the  quality  i.A  tone  as  accurately  as  the 
other  knows  the  l^tcli  of  tone. 

These  peopU-  have  not  yet  been  classified  and  tagged  as  have  the  others,  but 
they  e.xist  nex  ertheless  and  their  judgment  is  just  as  infallible.  They  do  not  think, 
or  guess  or  conjecture  as  to  the  quality  of  a  musical  tone  —  they  loiow.  Like  the 
other  class  they  don't  know  ichy  they  know  ;  they  simply  know  that  they  do  know 
and  no  amount  of  argument  can  convince  one  of  them  that  a  tone  is  less  or  more  or 
better  or  worse  than  it  actually  is  according  to  his  standard. 

(_)f  course  you  will  ask  what  his  standard  is. 

His  stand.u'd  is  an  ideal :  he  has  nothing  to  compare  the  quality  of  a  tone  with 
any  more  than  the  other  has  a  scale  with  which  to  compare  the  sound  he  hears 
before  he  tells  you  the  pitch. 

It  is  simply  a  definite  and  absolute  mental  conviction  that  can  be  proven  to  be 
accurate  and  infallible  in  the  case  of  pitch  but  not  in  the  case  of  cjuality. 

No  tonal  supersensitive  ever  yet  heard  a  tone  that  entirely  satisfied  him.  Were 
a  tone  to  be  produced  that  equalled  his  ideal  then  dex'elopment  would  cease  for  the 
ultimate  would  haw  been  reached. 

Occasional  pianos  of  certain  manufacturers  have  closely  approximated  the  ideal 
and  it  is  proof  positi\-e  that  such  is  the  c.ise,  as  well  as  proof  positixe  of  the  infalli- 
bility of  the  judgment  of  the  sensitiw,  that  these  gifted  people  have  been  unanimous 
in  their  judgment  as  to  which  these  pianos  were. 


c5omacl^e;t: 


l^ut  the  cntiiH-  ])r<i(lui-t  ■>!'  in-  nianiifacturrr  ever  approximated  the  idi-al  and  it  is 
doubtful  il  it  WW  u  ill. 

Karh  of  tin-  i^ivat  nianufarturciN  wh,.^,-  pi,^l.i^  ha\r  l.rrii  c-clchratcd  loi-,|ualily 
was  citluT  ,1  ^nisitixc  hini-clf  or  had  one  in  his  (•nii)loy  thoUL,di  he  iiiiL,dil  not  ha\ c 
know  n  il. 

Jn  SOUK-  I'.iscs  ilic  oiii,dnals  ha\x-  died  hut  sons  have  inherited  the  .yift  and 
(K'\elopnien t  has  eontinued. 

In  other-,  the-  oriL^inator^  have  L^.iue.  Their  >nc-ee-.sors  h.ive  l.een  men  who  had 
no  knoul.-d-e  ui  t,.ne  (luality  and  u  ho  have  wondered  why  the  j.iano.  made  from 
the  -ame  M  ales  and  pattern-,  that  were  re-arded  as  superior  twent\--ti\e  years  a,<,M) 
ar.'  m-t  so  rei;, u'ded  t.ulay.  1  )c  xa  h.pnien t  eeasi-d  in  these  houses  when  t he  men  who 
/■;/,  re  tone  died  or  went  out. 

i  here  ai.'  hundreds  of  piano  m.iker-.  that  are  neither  su]  )ersen  si  t  i  \  e  no|-  e\-en 
s,  n-ilixe  n,,r  ha\.-  tli.-\'  e\er  had  anylx-dy  eonne.  ted  with  them  who  was. 

1  he  -.une  idea  has  iiccn  tersely  put  into  plain  laiu,dish       a  eertain  manulaeturer 

"  The  fust  threat  re(]uisitt'  in  makint;  a  first-class  piano  is  to  know  what  a  tirst- 

\\"e  ha\e  also  heard  it  said  that  there  were  not  half  a  dozen  i)iano  manufacturers 
in  the  I'nited  .states  who  kn<-w  a  ,^o,,d  j.iano  when  they  heard  it. 
I  his  st.itcment  may  not  l.e  fully  justihed  hut  it  is  almost. 

kills  will  account  in  many  cases  for  the  al)surd  claims  of  certain  m.nuifact urers 
who  a.herlise  their  pian<.s  as  hein-  of  the  hi,s.,diest  -rade.  khey  km.w  that  they 
ha\c  ti  ici  to  make  their  i)ianos  i  i,L;-ht,  ha\c  ])aid  enough  f .  a'  hoth  materials  and 
kihca-  to  insure  the  hest  possihl,-  results  .,nd  hecuiM'  thev  haxe  ,l,.ne  this  they  think 
tli.  y  the  hest  results:    theydon'i  L„o:w   the\  .iond  know  that  a  piano  mi-ht 

co-t  h)ur  times  as  nmch  as  the  hiudiest  pri.  ed  jikmo  in  the  market  and  still  he 
medioere  from  a  tonal  stand|)oint. 

.Men  ha\'e  si)ent  fortunes  in  tiA  ini;-  to  make  a  ])iano  that  was  e<iual  or  su])erior  to 
the  hest  in  the  market  an<l  faile.l  h.'cause  at  no  sta-e  of  construction  did  they  know 
whether  lh<-  i)iano  was  ri-Iit.  I  hey  .lidn't  even  know  they  had  tailed  until  some- 
hodN-  else  t-ld  them  W  ho  ,//,/  know. 

,\  h  \\  m.iniil.o  lurei-  know  that  th<-\-  don't  know.  d  hey  ai'e  on  comi)arati\ady 
-ale  LM-inid  l!ie\-   -eel.  ,  ,  i  re  1 1 1 II  y  the  -pillions  ,,f  e.\i)erts  or  sensitives  and  are 

i^Miided  hy  them. 

20 


€H  ^c5omacfte;ir 

The  man  to  be  dreaded  is  the  one  who  tliinks  he  knows,  when  he  does  not.  He 
does  much  chunaj^e  because  he  appears  honest  and  in  fact  is  honest  and  honesty 
always  inspires  a  certain  amount  of  confidence. 

But  the  worst  is  he  who  knows  nothing,  knows  that  he  knows  nothinj^,  believes 
that  nobody  else  knows  anything,  cares  for  nothing,  therefore  claims  everything 
because  he  thinks  that  all  claims  for  superiority  are  merely  a  pretext  to  get  a  better 
price  and,  as  he  is  in  the  business  merely  for  what  he  can  get  out  of  it,  his  policy  is 
simply  to  build  for  the  least  possible  amount  and  sell  for  the  highest  possible  price. 

And  it  is  astonishing  how  many  dupes  this  class  of  confidence  men  find. 

Connected  with  the  Schomacker  Company  is  one  of  the  most  supersensitive 
tone  critics  in  this  country.  Working  under  his  direction  are  the  most  expert 
artisans  and  mechanics  ol>tainable,  who  are  constantly  striving  for  better  results  and 
constantly  imi)ro\  ing  methods  already  approved.  Every  little  while  one  of  these 
miners-of-ideas  l)rings  to  light  a  nugget  and,  when  he  does,  the  expert  is  there  who 
knows — absolutely  ktuncs  whi-ther  it  is  precious  metal  or  whether  it  is  simply 
"  fool's  gold  "  -  as  the  California  miners  used  to  term  the  delusive  base  metal  resem- 
bling gold  w  hich  ignorant  prospectors  found  and  in  search  of  which  many  arduous 
journeys  wen-  taken  and  many  lives  lost. 

There  is  "fool's  gold" — plenty  of  it  among  the  much-heralded  piano  ideas  and 
both  fortunes  and  reputations  have  been  sunk  in  the  development  of  it. 

The  Schomacker  tone  is  not  satisfactory  to  us  and  ne\  er  will  be,  probably  : 

But  the  intuitive  knowledge  by  which  we  determine  that  the  tone  is  not  perfect 
tells  us  also: 

That  the  Schomacker  tone  is  one  of  the  most  extraordinary  that  was  ever 
developed  in  any  piano. 

ART  PIANOS  — 5PLCIAL  DL5IGN5 

IN  either  of  the  Louis  Periods  or  in  conformity  with  the  requirements  of  any 
specific  style  of  architecture  will  be  made  to  order  and  specifications,  color 
drawings  and  estimates  furnished  upon  application. 
These   instruments  will   be  constructed  of  any   desired   wood,  enriched  with 
carvings,  ormolu,  or  i)aintings  by  artists  of  ability  ;    and,  if  desired,  by  those  of 
national  or  international  reputation. 

21 


NOTABl  L  AWARD-S  AND  HONORS 

Till-:  S,  h.. marker  Tiaiics  have  \,rcn  rxhibitrd  at 
all  of  the-  iM-iiu  ipal      n:ii)rtiti\c  cxhihitions  in 
Anu-rie.i  siiux-  1N45,  and  have  nrvcr  yrt  failed 
t(,  rc,-,-i\r  the  hi-hcst  i.MssihK-  award. 

rill.  1  kANKI.lN  INSTrri  TK,  1S45 
\hd,il        "IW-t  ri.iiio"  — .iiic  ..f  the  r.niiest  awards 


AMi-.KU  AN  ixsrrn Ti;,  ma\  ^(lKK,  is4s 

.inKcl  I  irst  Tri/.-,  .1  SiUrr  Medal,  in  c  .iniictitiMri  with  the 


MAkN  l.AM)  IXSTrn'TE,  l^ALTIMORK,  1S48 

A.n-.lr,]   I  ir-t  I'ri/r,  .,  Silver  Mrd.il,  at  lii.'  tirvt  rxhil. 


kVSTAl.  I'Al.Ai'K  INTKKNATIOXAL 

KXIIIIM  TK  »\,  IS5,^ 
,t  (h.M  Mrdal     tlir  IiI'Jk'M  auanl.d  Aiiu-rir 


I  N  I  I  NNI  \1,  1X11  U\. M  M  i\  \i.  i:\iiird  i  i 

\1    I'hila.l.'ll.liia.  l..-|ou.,l  111,    tirjii.-l  iH^n-r^  r\r 


C0e  P>c5omac^e;c 


5CHOMACKLR  PATRONS 


AC(_)\S1'I(  L  (  )L  s  tcitii 
<MU-  u  lii.  li  h.is  rliril.- 


(■  (it  the  Sch( iiii.ickcr  catalogue  for  many  years,  and 
1  nnicli  ciiiiiniciit  in  imisical  and  social  circles,  has  been 
llic  \iTy  cxlciKlcd  loxcrini^  m'\ cnly-rixe  or  more  pages  and  containing 
necu  ly  ti-ii  tlKm^aml  11,11110  ..f  Si  In  .niackr r  i),itr(ins,  in  Philadelphia  and  elsewhere, 
who  are  i<v  weir  pn  iiuiiiciu  in  MKial,  pulitical  or  official  life.  Space  compels  us  to 
di^cdnliiiiic  tl^l^  IniiL;  li^t,  \n\{  we  append  a  few  names  taken  at  random  therefrom, 
whii  ii  may  sfi\c  to  interest  >neh  a>  are  not  familiar  with  the  Schomaeker  Pianos  or 
Sehom.ieker  c  lientele.  We  will  also  be  ple.ised  to  furnish,  upon  application,  a  list 
of  Sehoniacker  ])atrons  in  any  desired  state  or  locality. 


.  W  I 


I'a 


OIIN  W.  Ckakv 

onN    1\  llAKTKANFT 


A.  St( 


lAM    11.   Ill  NN 
.   \\  .  I'l- NNVl'ACKER 


r,,oKh,  I'liiLidcipiii,, 

.  W  .    I  MKM  ^,  j'l,il,Mlelpl 


Gen.  j.  A.  lii-  \\  1  k,  rmnsx  i\  ,ui\.i 

Hon.  J.  M.  1;K(  K,  IMiiladelphia 

Hon.  Franklin  Blades,  Illinois 
Hon.  a.  M.  Bell,  Bell  Teleplu.ne 
Jrr)GE  F.  Amedee  Bre(;v,  PhilacK-lphia 

(   MAKI  KS  11.     r.   CoLMS,   N\w  Y,  .ik 


II.. 


I.  U  \ 


I  .M.  W  Miiiisu  i-  I.. 

II.  W"  \i  I  )iie.  iM,-  1  .  .S. 

.    I.  ^.   W  l\M  New  \  Ml-k 


Hon.  H.  W  .  W  n 
Gen.  Loris  \\  \( 
Col.  Josmi  T.. 


5CHOMACKLR  PATRONS 


H(iN.  S.  F.  A.N(  ()N.\,  M.C,  Pennsylvania 

Hon.  J,,mn  a.  Aiii,,  M.  C,  Pennsylvania 

Hon.  Wm.  ];.  Ada.mson,  Pliila.U-lpliia 

Hon-.  W.  Arc.  Atlkk,  Lancaster,  I'a. 

Col.  I.  .V.siiWoKTIl,  I'liiladelpliia 

Hon.  ,\.mos  1',ki(;(;s,  I'hihuleli.lna 

Hon.  1).  Pkown,  M.C.,  Pennsylvania 

Hon.  W  m.  1 ).  Hoi  kck,  M.C,  California 

Hon.  N.  p.  Pkownf,  Pliiladelpliia 

Hon.  Hknkv  Pr.MM,  Philadelpliia 

Hon.  p..  H.  Prownk,  I'liiladelpliia 

Hon.  Cii.\s.  .S.  liKiMM,  M.C.,  Pennsylvania 

Hon.  S.v.mtki.  W.  C.kttki  i.,  I'liiladelpliia 

Hon.  Stephen  A.  C.-u.dwki.i.,  Philadelphia 

Hon.  A.  G.  Cattkm.,  M.C,  New  jersey 

Hon.  Ceo.  CkumI',  liritish  Cmsul,  Phila. 

Hon.  R.  W.  l)o\VNIN(i,  Philadelphia 

Hon.  a.  K.  DuNKEi.,  Secy.  Internal  Affairs,  Pa. 

Hon.  Andrew  H.  Dill,  Pewishury,  Pa. 

Hon.  H.  T.  Kstei-.kook,  Khnir.i,  New  York 

Hon.  Henkv  D.  f  om  i  i;.  M.  (  ,,  Penna. 

Hon.  R.  M.  Pol.st,  Pliil,,drlpl,i,i 

Hon.  JO.SEPH  K.  C.ii  i  in(,iiam,  Philadelphia 

Hon.  James  GILK^ -.ON,  | ),  i\  ir-t,  lu n,  P.i. 

Hon.  Lewls  Gkat/.  Phil, Kiel,, hi, i 

CoL.  Samuel  (rool iM AN,  Phil,idel]ihia 

Hon.  Thomas  S.  Hakklson,  Philadelphia 

Hon.  p.  M.  llrrciiiN.soN,  Chi(a-t.,  111. 

Hon.  David  Hcstlttlk,  Pittshurs,  Pa. 

Hon.  a.  p.  Hamilton,  Wisconsin 

Hon.  (;eo.  S.  HooKE^,  C.e.iruia 

Hon.  I.  I-:.  Heistkk,  .M.C,  Pennsylvania 

Hon.  Wm.  V.  Hai;i;it\  ,  Penns\lvania 

Hon.  M.  C.  Hkkman,  (  .ull'-lr,  p.,. 

Hon.  W.  P,.  Han.na,  Phil.idelphi.i 

Gen.  Herman  Hai  i  t,  Philadelphia 

Gen.   H.  G.   Hl-IDLKOLLR,  I'hil.Klelphia 

Hon.  Daniel  K.  1s/ard,  New  jersev 
Hon.  Horatio  Gates  Jones,  Philadelphia 


Hon.  James  N.  Kerns,  Philadelphia 
Hon.  Edward  C.  Knight,  Pliiladeli)hia 
Hon.  Christian  Kneass,  Philadelphia 
Hon.  p.  R.  Kelllk.  Pennsvlvania 
Hon.  W  m.  II.  Klml.ll,  Phil.ldelphi.i 
Col.  loiiN  KENNi-.T-r,  Cincinnati 
IdoN.  James  Lvnd,  Philadelphia 
Hon.  J.  P,.  Lippincott,  Philadelpliia 
Hon.  James  Leslie,  Philadelphia 
Hon.  Kllis  Lewis,  Pennsylvania 
Hon.  W.  |.  Ledlc,  Cinnmissiiincr, Washington 
Hon.  Stanley  Little,  'D.wanda,  Pa. 
Hon.  H.  .\.  Mt  iiLLNP.EKo,  M.C,  Penna. 
Hon.  T.  IL  M<  Cm  i  i  m,  Philadelphia 
Judge  J.  P..  Mi  I'm  k  .on,  Philadelphia 
Hon.  David  .Ml.mma,  1 'ennsylvania 
Hon.  H.  S.  M(  Comh,  Wilmington,  Del. 
Hon.  Rop.eut  Ma(  key,  Pennsylvania 
Hon.  Wm.  McCandless,  Pennsylvania 
Hon.  Wm.  B.  Moorehead,  Philadelphia 
Hon.  Wm.  H.  McFadden,  Philadelphia 
Hon.  Isaac  McHose,  Reading,  Pa. 
Hon.  Edward  Murphy,  Troy,  New  York 
Hon.  Jacob  Moore,  Georgetown,  Del. 
Hon.  Robert  McWade,  Philadelphia 
Hon.  William  ]^.  Mann,  Philadelphia 
Hon.  Henry  D.  Moore,  Phil.idelphia 

(iEN.   M.   MoNTCioMEKV,   Lin(nln,  Neb. 

Capt.  D.  a.  .M(  Donald,  L.h msse.  Wis. 
Call  N.  11.  Maxson,  f  rederi,  ,  Del. 
Proi-.  S.  .M.M  Mii  soN,   P.r.mthinl,  (  )nt.irio. 
Hon.  Roplkt  Pattlkson,  Philadelphi.l 
Hon.  Tllos.  P.  StoTI.sim  KY,  Philadelphi.l 

Ho\.  W\i.  M,  Si\(,i-  ki  \  ,  Pliil.i.K  lphi.i 

Hon.    I,    I.IM,  \K   Tlh>Ms,,N,  Phil.ldelphi.i 

Hon.  W  AsiiiNi,  ion  Townslnd,  M.C.,  Penna. 
Hon.  Ioiin  p.  \  lkkll,  M.C,  Pennsylvania 
Hon.  J.  I,owiiER  Welsh,  Philadelphia 
Gen.  W.  Wayne,  Pennsvlvania 


THL  PATENT  ELECTRO -GOLD  STRINGS 

CRllICAI,  iiiuMcianN    M-irnlist^,   tniu-rxpcrl^  aiul  ..f   nui^ic  ^^riu-rally 

will  \n-  intcn-stcd  ill  ^tLl<lyi^^^  tlu-  clTi'i  t  ( .Ijlai ijcd  in  tlic  ScIk miackcr  Piano 
l)y  ])laliii,L;  the  strin^^s  heavily  with  ]>v\rc  j^ohl. 
])iiiini,'-  ,1  ^^  ^i^■^  of  exhaustive  experiments  made  w  itii  a  \  ie\v  df  proteclin.LC  the 
wire  with  nickel,  siUcr,  copper  and  other  metals  to  prevent  rust,  oxidization  and 
deti  rioration,  it  was  discoxcred  that  a  hea\-y  plating  (not  a  wash)  of  pure  gold 
f,M\i-  not  only  the  nio-^t  ])ositi\e  jireserx-ative  results,  and  added  very  materially  to 
the  ai)i)c-,iran(  I-  of  the  instrument,  but  developed  an  entirely  new  tonal  effect  of 
sinL,Milar  purity  and  l)t-auty.  This  effect,  though  oljtained  at  a  greatly  increased 
cost,  it  was  decidi-d  to  i)er])etuate  in  the  Schomackt-r  Piano  and  the  present  method 
of  construction  is  the  result. 

It  is  generalK-  (..needed  that  the  Schomacker  Piano  has  deN'eloped  a  new 
toue-st.indard,  of  ,in  ultra-artistic  ciiaracter,  which  cannot  he  produced  by  the 
ordinary  methods  of  pi.iiio  building  and  the  t-xplanation  .if  which  must  be  sought 
for  in  its  characteristic  .  .  mst rue t i.  m. 

1  hat  the  sharp,  pen.'! lat ing  .|ualityof  a  steel  string  \ibrating  at  high  tension 
has  b.-.  n  <iualitle.I,  nUKlifi.-.l  an.l  lua.l.-  m.-re  nuisical  b\-  the  applic  ation  ..f  the  gold, 
there  is  littl.'  d..ubt:  an.l  til.'  lu-.uliar,  indescribabl.'  charm  ..f  tli.-  .Scii..macker 
tone  must  be  .iltributai  il.-,  in  s.nn,-  degri-e  at  Ic-ast,  to  this  pri>cess. 

THL  FIRST  "GOLD-STRING"  PIANO-FORTL 

e\<r  maiuifaclure.l  was  .-.xiiibite.l  by  the  S.  homack«-r  Piau. 1' ort<-  Manufacturing 
C..mpany,  in  1n7'.,  ,it  the  Phila.leli)hia  International  I'.xhibiti.  ai.  Its  superiority 
was  nnix.  rsally  a.imitle.l.  X..  plan.,  atlra.  te.l  s,,.  h  a.lmuation  an.l  attention,  antl 
th.-  S.  li..ma.k.-r  ]'iau..-lM.rl.-  .M  a  n  u  I  a.  t  u  ri  n  g  (onipanN'  was  awar.led  the  highest 
pr.-uumu. 

ADVANTAC.LS  Ol  LLLCTRO-GOLD  STRINGS 

It  is  impossible  to  . i\-erestimate  the  advantages  deri\-ed  from  the  use  of  these 
strings.     In  the  fust  pla. c,  the  a.lditioual  s..nority  imparted  t..  the  steel-wrappetl 
w  ires  b\  the  ])rei  i.ius  nu  tal  produces  a  nmre  sympathetic,  retuu-d  an.l  ])nrer  (juality 
of  t..ne,  s,,  mn.  h  desia-,1  in  the  PiaiD-f-orte.     'Phis  is  a  (U'monstrated  fact,  beyond 
26 


P'C^omacfte;!- 


the  power  of  contradiction.  The  ortiinary  iron-wrapped,  or  so-called  white  metal 
plated  strings,  which  all  other  m.ikers  are  still  compelled  to  ust-,  art-  imniediatt-ly 
affected  by  atmospheric  action,  .i^Madually  (K-stroyin.L;  the  power  and  \  italit\-  of  the 
strings  to  prolong  and  sustain  the  tont-,  rt-ncU-rini^  them  liahle  to  t'asily  snap  or 
break.  To  remedy  this,  and  to  improxe  the-  cjuality  of  lone,  haw  been  the  oljjects 
of  manufacturers,  musicians  and  inventors  for  the  ])ast  forty  years,  and  only 
successfully  accomplished  by  the  discovery  and  use  of  the  l^k-ctro-Gold  Strings, 
which  are  proof  against  rust,  and  which 

PRODUCE  A  SUPERIOR  QUALITY  OF  TONE, 

thus  making  the  Schomacker  tjoUl-.String  Piano-Forte  absolutely  the  most  durable, 
beautiful  and  unifjue  piano  ever  manufactured. 

THE  U5E  OF  GOLD  INSTEAD  OF  IRON  5TRING5 

was  suggested  as  long  ago  as  iN.Sf),  by  l->esseker,  an  English  Piano- F"orte  maker,  as 
a  remedy  for  the  constant  annoyance  to  manufacturers  and  performers  caused  by 
the  liability  of  iron  (or  so-called  steel)  wires  to  rust  and  break  in  moist,  hot,  or 
changeable  climates  like  Lngland  and  the  United  .States. 

THE  OBJECTS  OF  BE55EKER'5  CLAIM. 

as  stated  by  himself,  in  the  files  of  the  l^ritish  Patent  Ofifice,  bS56,  were  to  render 
the  tone  or  sound  of  any  string  or  wire  used  for  musical  purposes,  of  a  \  ery  superior 
quality  ;  to  increase  their  durability  as  regards  wear  and  atmospheric  effects,  antl  at 
the  same  time  imjjart  elegance  of  appearance. 

Besseker,  howexer,  had  no  knowledge  of  the  Pdectro-Gold  Process,  not  then 
discovered,  as  Napier,  the  best  authority  upon  such  subjects,  says  in  the  third 
edition  of  his  work,  publishetl  in  (dasgow,  1N.S7  (one  y^-ar  after  Besseker's  appli- 
cation), in  alluding  to  the  cK-posits  of  alloys: 

"The  means  to  regulate  the  i)roi)ortion  of  each  metal  and  to  make  such 
a  process  practical  have  .177  1o  be  discovcrci ." 

It  was  not  until  ls7Ci— twenty  y^-.n-s  later— that  Col.  II.  W.  Cray,  then  President 
of  the  Schomacker  Piano-h'orte  Maiuifacturing  Company,  <li-co\  ere<l  its  adaptaliiiity 
to  the  manufacture-  of  jiiano  strings. 


€0e  P>c^omacfte;c 


THE.  SIGNIFICANCE  OF  THL  SCHOMACKLR  LQUILIBRE,  5Y5TLM 
OF  RL50NANT  5TLLL  CONSTRUCTION 


T 


HK  cuts  hriruitli  show  arc-iiratrK'  the 
honi.ukcT  and  otluT  piaiKis. 
^  illustration  shows  the  back  of  a 
s  subsla 


ordinary  typ( 


ally  the 


■  between  the  construction  of 


made  and  welbknown  i)iano  of  the 
luiulreds  of  other^  ;    indeed,  there 


oth.' 


of 


PLATr.  A -USUAL  CONSTRUCTION 

ilts  obtaiiu'd  by  that  method  ;  am 
•d,    en(hM^ement    o|  manubicturei's 


con.truclion  used  today  I)y 
the  m.MUifactnrers  of  either 
hi,i,di  - -rade  or  low  -  .tirade 
pianos,  and  the  wonder  is 
that  in  all  these  years  of  de- 
velopment the  former  ha\-e 
been  content  to  continue 
with  the  bitter  in  a  rut  which 
each  has  helped  to  cut  so 
deep  that  it  is  difficult  to 
get  out  of  even  if  one  were 
so  disposed. 

We  are  saying  nothing 
against  this  method  or  those 
who  employ  it.  There  have 
been  too  many  excellent 
pianos  made  on  those  lines 
to  admit  of  any  doubt  as  to 
1  it  has  had  the  iiracticd,  if  not  the 
whose    judgment   and    skill    are  both 


lUit  : 
it  (h. 


11. )w  that  b. 
that  becau 


.■thod  was  good  the 
■asier  to  drift  with  t 


is  not  a  better 
tide  an<l  mal- 


assum.-  that  bee, 
m(,del  they  will 


ontinue  to  do 


II 


II 


The  principal  reason  why  other  manufacture 
because  they  have  nearly  all  tried  to  make  thi 
to  make  theirs  as  nearly  as  possible  like  sonn 
"leaders"  all  use  one  method  of  construction, 
to  imitate  ANY  other  piano  ; 

In  the  pursuit  of  that  iiU'a 
maker,  however  yood,  we  coi 
that   method    than    he  had 


.  have  all  folio 


of  the 


idc 


But  the  Schomackrr 
"leader"  itself,  and  its  objective'  i: 
soned  that  if  we  followed  the  meth' 
reasonably  hope  to  make  a  pi.nm  ; 


)tlicr  piano  — 
and  those 
■  IS  not  trying 
is  an  IDEAL, 
if  another 
l)etter  by 


iiiv,,l\ino-  a  PLATL  B— SCHOMACKLR  CONSTRICTION 

large  expenditure,  there  was  cx-oK-cd  a  lu'w  method  of  construction  whose 
tific  accuracy  has  been  di-monstrated  and  whose  practical  wilue  is  proNrn  1 
tonal  results  as  ha\'i-  astonished  all  who  are  familiar  with  tlnMii.  The 
evidence  of  our  departure  fr(im  tin-  old  form  of  construction  is  shown  by  re 
to  Plate  B;  this  shows  the  .ScIk  .ni.icker  l^iuilibre  System  of  Resonant  Stei 
struction.  The  central  forked  truss  is  made  of  refined  steel  and  takes  tb,e  ] 
the  wooden  posts  shown  in  Plate  A.  This  steel  fork  is  braced  at  the  four 
of  L,Meatest  resistance  against  a  continuous  rim  of  l)ent  wood,  which  i^  coi 
of  eight  thicknesses  of  wood,  each  one-quarter  of  an  inch  thick,  and  al 
29 


)V  such 
visible 


iposed 
glued 


tot^cthcr  Into  one  solid,  resonant,  sonorous  mass,  forniinj^  a  complete  circuit  with 
the  piu-hli  )ck,  which  transmits  tone  ,!s  continuously  as  coi)])t'r  wire  transmits 
elr.-lnrity. 

1  hr  c,,n,lucti\ ity  of  c  ircular  forms  f,,r  \n>ih  rlrclric  and  Inn.-  waves  ha>  Inen 
fulK-  (h-mcMiMrate.l. 

<  lix  1  11  a  rirrnlar  medium,  madi-  resonant  liy  the  union  of  L,due  and  wood,  cc  m\  ey 
tlica.  to  a  nni-ie,,l  t,,nr.  and  it  will  he  ma,L,niihed  and  will  eontinur  its  \  il, rations  .aid 
sounil  a  lorn;  lime,  dyini;  aw.iy  li\  d.a4l■^^•^  —  a  "-int^int;"  torn-  th.it  .Ljrow  s  K-ss  ;md 

Ir.msmit  the  same  tone  lo  ,i  Mjuarc  hody  made  up  of  slraiyht  i)irces  of  wood 
lik.-  Ihr  fram.-  and  po.t  shown  in  Plate  A,  and  th.'  vihralion  will  stop  .jiort  when  it 
reaches  the  lir-t  (  f  the  m.my  joints  in  the  frame. 

An  clc-ciric  current  w  ill  trax  el  indefmitely  around  a  circuit,  hut  stojjs  short  at  the 
end  of  a  str.iiL;ht  mrdium  and  shows  a  marked  .i\ersiou  to  acute  angles  or  sharp 
cornea-.     All  this  is  (  (lually  true  of  musical  tones. 

d  he  tone  impuls,  s  .irr  c.in.-yrd  to  tli<-  t'ontinuous  hcnt  lim  not  only  liy  the 
s()undinL;d)oard.  Iml  k\  thr  .  ouipo-ite  metal  plate  which  su->tains  the  strim^s  and 
1)\-  the  pind)lo,  i.  to  wh.is,-  pm-  the  strini^s  aic  attached  ami  li\-  the  treble  resonator, 
whi(  h  recei\i-s  the  v  ihiMtiou  of  the  jilate  direct,  magnifies  it  and  them  cmueys  it  to 
the  rim,  wlia  h  impart--  re-^onance. 

We  could  till  thi--  entire  catalo.^ue  with  scientihc  facts  and  theoretical  and 
arL,Mim(aitati\ <■  dat.i  to  ])rove  the  aea  uracy  of  our  deductions,  hut  all  this  would  not 
he  half  so  convincing-  M<'r  so  cncluMve  a.  K  l-:.Sl-LT.S. 

dh.'  tone  of  the  .Schomacker  I'lauo-  uidike  any  other  ~  he.mtiful  beyond  com- 
parison—furnishes melodious  proof  of  the  corivctnc'ss  of  a  theory  which  has  had 
th<'  emha-sement  of  seieiiti^s  who-e  ,  Mimat<-  i>  based  up..n  theor^■tical  deductions, 
as  well  as  practical  manutacturer--  who  d,,  uot  he^ital.'  lo  .ulmit  that  tlKU'e  is  ,i  tone 
(piaiity  in  the  .S,  jiomae  keu'  w  h i.  h  cannot  be  accounted  for  by  any  results  hitherto 
obtained  Ivtnn  pre\ iuus  methuiU. 


30 


This  picture,  taken  before 
the  strings  are  attached  to  the 
metal  plate,  shows  the  diverg- 
ing steel  forks,  crossbrace  and 
truss  on  the  back,  which  con- 
stitute the  Equilibre  System  of 
Resonant  Steel  C(jnstruction. 

The  case  and  frame  are 
rigidly  l)raccd  at  every  point 
of  strain  or  tension  and  are 
immovable,  thus  holding  per- 
manently th<-  arch  of  the  sound- 
ing-board, whereas  wooden 
backs  swell  and  shrink  with  at- 
mospheric changes  and  permit 
the  sounding-board  to  flatten, 
which  destroys  the  resonance 
of  the  tone,  and  produces  the 
sharp,  tinny  quality  so  exas- 
perating to  sensitive  ears. 

The  first  Schomacker  pianos 
constructed  with  the  steel  backs 
retain  their  full  resonance, 
rotundity  and  musical  quality 
of  tone  today. 

The  E(iuilibre  .System  of 
Construction  has  now  been  in 
practical  use  for  more  than 
twelve  years,  during  which 
time  its  durability,  accuracy 
and  artistic  (luality  ha\-e  been 
fully  pr()\-ed  by  results,  so  that 
it  can  no  longer  be  regarded  as 
being  in  any  sense  an  experi- 
mental method. 


PLATE  C 

SCHOMACKLR  GRAND  CONSTRUCTION 


UPRIGHT  PIANO.  5TYLL  1 1 

Hl.K.lir,  I.. Ill-  Irct  Iniir  inches;  width,  five  frrt  thrcr  inches;  dc-pth,,  two 
l.ct    three  inches. 

WeiKdit,   .ilioul   ^ix    hun(hv,l   and   sixty-^ix   pounds;    l.oxed,   alxnit  nine 
hundred  and  sixteen  ponn.N. 

Seven  and  <.iie-thir<l  n,t,i\.-.  l  ineM  i\,„y  keys  with  eljony  sharps.  \'ery 
e'.a-lic  ,;iid   ii-p.:i:M\e  touch.      l.xtK  UieU    seusitixi'  and  synii)athetic  action,  with 

Idne  .MalK.u.my  cms,  1  ,e,ai  i  i  I  u  1  !>•  hnishe.l  in  l.cth  l.ri-lit  p.-hsh  an. I  <hill,  art 
finisli.      I'atent  eh  ct  r. ''1' I  -HiuL,-. 

I'ateiit  i:(iuililire  .^\steni  cl  Kesdiianl  ."--teel  C '( mst  rnct  i(  >n  and  continuous,  ln-nt 
rini.  yrand  ])i,ino  Iranie. 

1  luh-pench'ut  trt-l)le  resonator;  tone-sustaining  pedal;  arched,  violin-niodel 
soundini,rd)oar(L 

An  ultiM-artistic  tonal  achievement  that  will  appeal  most  forcil)l\- to  authoritative 
music, il  critics  and  to])eo]ile  L^ent-rally  of  artistic  temper, uiient  and  retined  musical 
taste. 

1  hose  nio.i  ,,Mi)pet.-nt  to  ju(l--e  will  ,it  once  note  the  peculi.ir  suioothm-ss, 
rotundit\  and  .-x. cedin-ly  nu  lodiiius  (lu.ility  of  lone  ,ind  will  he  surjirist'd  .at  the 
\  olumc'  ,,l,t,iin,il)le  when  the  <limensi,  ,ns  of  the  instrument  .are  consi<l,-ri-(l.  d  hese 
ton.il  ,  h.ir.icteristics  .nv  Ljener.illy  considered  to  result  fn.m  the  elect ro  -  t^old 
modihc.ition  of  met.illic  ton.il  shrilhu-s  on  the  one  h.uid  .uid  from  the  ma.i,niifying 
effect  of  the  lienl  rim  .and  steel  construction  on  the  other. 


32 


UPRIGHT  PIANO,  STYLE  11 


UPRIGHT  PIANO,  5TYLL  12 

HI.KiH  1,  four  feet  seven  inclu's;  width,  i\\-c  feet  three  inches;  depth,  two  feet 

Weight,  alMuit  MX  hundred  and  eiL,dity-s<-ven  i.ciunds;  l)().\ed,  al)()ut  nine 
hun.hvd  an<l  thirt\-M  \ m  p.-uuds. 

Se\eu  and  ..lU'-third  ,.(  la\es.     idnrst  ivory  ke\  s  willi  chony  ^harI)s. 

\'ery  i-lastie  and  responsixe  {<H\ch.  l^xtreniely  s^■n^itive  ,md  s\-ni]).itlietie  action, 
with  exceptionally  rapid  rc])eatini:  capacity. 

Selected  Maho-any  cases  .,f  heautiful  t^rain  in  hoth  hrii^ht  jiolish  and  dull,  art 
finish. 

Patent  ICtiuilihre  System  of  Kesonant  Steel  Construction  and  continuous,  bent 
rim,  ^M'and  piano  frame.     I'atent  electro-^'-old  slriuLjs  of  unusual  lent^th  and  sonority. 

In(le])en(lent  trehle  resonator;  tone-sustaining;  pedal;  .arched,  violin-model 
soundiiiL^-l)!  >ard. 

The  s.ime  ultr.i-.trtistic  ton.il  ch.uMcler  ,is  tin-  Style  11.  with  ad<K-d  power  and 
resonant  e.  .\n  cxlra.  .rdinai  y  .  xample  of  latent  power  ,uid  res.-rve  force,  combined 
with  .ippe.iliuL;-  ilrlici,  \'  and  syuip, allelic  (iualil\'. 

This  ])i,iuo  is  ,,f  |.iecisely  the  s.une  dimensions  .1.  the  St>  le  1  1,  excejit  in  hei,t;ht. 
The  additiciii.il  heiL;lit  of  tiiree  in*  lies  .Ljives  a  corresp,  .ndiui.;  a.ldith.ii  to  the  leni^th 
of  the  sirinus,  an.l  tli.-  lon-er  the  strin-s  the  -reatcr  the  ]...wer  ,m<l  toual  di-pth. 

There  ,nv  ^.  irnlilic  lacts  iu  the  held  of  .icuisti.-s  ih.il  .iccount  re.adily  f.a-  the 
exti-aordinary  ]iiiiit\-  of  i,,ne  resulliiiL;  from  ni.it hem, it ical  .iccuiMcy  in  len--th  of 
strin-  l.etuc-en  the  l.n<ke  ;ui(l  the  ;i-r,ilTe,  or  pressure  h.ir,  when  dr.iwu  to  ,i  rel;iti\ely 
.iccur.ite  tension,  ,il)out  w  hich  the  .i\cr,is^'-e  m.muf.icturer  or  "  .issemhler  "  of  i)iano 
p.nls  knows  little  oi'  nothini:.. 

1  his  (leiiioiistr.ihle  s,  ientitic  .accuracy  in  the  .Schomacki-r  scales  .and  system, 
comliincd  with  the  effe(  I  of  tin-  L^old  deposit  on  the  steel  strings,  accounts  largely 
for  the  unp.ir.alleled  j.urity  of  the  tone. 


34 


H 


UPRIGHT  PIANO,  5TYLL  14 

Kilir,  r.Mir  fcrt  ten  inrhcs;  width,  fivr  fret  thvcv  inchrs  ;  (Iri)th,  two  feet 


W.'i-lil,  ,il..)iit   M-vcii    luuuirr.l    and  s.-v.-nty-f<>ur      umd^  ;    hoxrd,  alx.ut 
ten  hundivd  and  tu.-nty-lonr  |H.nnd~. 

Srvrn  and  .-nr-lhird  .k  la\a-.      I'inc-.t  ixory  l.ry.  an.l  rl..,ny  .harp^. 
d  lie  same  pliant,  i-c^jx msixa'   liaicli   that   i  liarai  trri/c-.  .ill    Si  in miackiT  pianos, 
l''.\lrtMii(dy  scnsiti\T  and   ^\ niiiallutic-  .utioii,  witli  cxicpti"  inall\-  rapid  rrprating 
raparily. 

Srl.-.  t,-,|  ,Mali.,>;aii\  ,  a-r.  m|  ,  ■  xcrp  t  k  HI  a  1  U"  a  1 1  imc  t  i  \  .  •  r,,l,,ran<l  -rain,  rnrichc-d 
with  inlaid  linr.  ,,|  -,,linv\.M.d  and  taM.dnl  cvx  in-.,  aflMrdin-  r,  „,  t  rast  i  n  lt  rrlirf  from 
thr  pl.nn  MNla.        xri  n-l  ..\.a-.-lalH.ratc-d. 

ScdKinia.k.a  I'atrnt  I.Mmliliiv  S\-lrni  -I  Rcm, nanl  St.-.'l  C  .nM  rn>i  1..,,  and 
l)uill-np   i.rnt    nni,   pu'> a-rK    i1m-  .anu-  a.  a  L^rand  piano. 

I'.itriU  clc,  lr.>-.-..ld  strniL:.  ..|  Mill  .^rr.itrr  l<-n-th  tlian  rithrr..f  the  i.rrrrcling 
styii-.,  w  ith  rorrcspondin-  inc  reaped  >  a])ai  il\-  for  jjowaa'  .and  cK-jith,  whirh  may  be 
in\a.la-d  ,it  will. 

Indrpcndcnl  IrcMc-  ic.on.n,  ir  ;  1(  m.  -Mi-^t.iinin-  pcd.al  ;  .irrhrd,  \  iolin-niodel 
soundin-dx.anl. 

d  his  pi.nio  is  an  .ai 1 1 rcl y  d i iT.av n t  mmI,-  from  cilhrr  of  the  .  .thca's,  w  ith  it-  ow  n 
ton.il  rli,n-a,  LarMi.-  ,,nd  th-  in.  ro.iM-<l  xolimu-  ol  .t.ai  n.il  )lc  .at  will  ..n  a.  .-.anit  ..f  ^i/r, 
yet  h,i\ Iiil;,  and.  r  .Moin.ir\'  toil,  h,  .ill  .,f  the  refined,  sinoani^  (pi.ililv  w  idi.  .nl  u  hieli 
leL^.ito  rflc.  Is  ,irc  mipiissililc,  ,uid  whieli  hrlrays  [hv  p.iranionnt  .naisiie  (pailitii-s  oi 
t..ned)uildniL;-  uiiieh  li.ave  eliar.u  leri/ed  thr  .Scdiom.ieker  ])ianos  in  thoir  x.naons  sta.ges 
of  de\a-lopmrnl  f.  a"  -ex  .  ai  t  y  \  .a;  rs,  ,i  nd  cspcei.illy  dnrint:  the  l.itia-  period  dating 
from  the  inwaitions  tli.it  have  made  tids  piano  famous. 


36 


THE,  5CHOMACKFR  ANGLLOPIAN  PLAYLR-PIANO 

H!:i(.lll,  l-iM    trrt   M  xrn   inrli.'.;    width,  five  fc-L-t  three  inclu'.  ;    depth,  two 

W  ri-hl,   .iImuU    ri-ht    hiiii.hvd    ,m<i    ninety-five   i)oun(ls  ;    hoxed,  about 
eleViMi  hundivd  ,nid   |..rtN-li\,-  pM,,,,.!.. 

ScN'en  and  liiic-lhiid  lH■ta\(■^:  tim-^t  ke\--^  witii  rlxmy  >harps, 

cla-.li.-  .nid  |-r^pMnM\c  Puudi.  lv\liTnirl\-  ^ensiti\e  and  -^ynipat  hct  i.^  action, 
wUii  ].|-artieallv  Iniiitl.'s.  r. -pet  i  t  i.  ,n  eapaeity. 

Selerird  .Maii..^,iny  (Mm-.  .  .1  exceptionally  l.rautiful  -rain,  in  l.ntli  i,riL,dit  polish 
and  (hill,  art  finish. 

I'atenl  laiuilihrr  .'^ysleni  of  Resonant  .Steel  Construction  and  continuous  bent 
rim,  L,n"and  piann  iianie. 

ddiis  (MM-  is  separable,  s, .  that  it  may  be  dix  ided  with  beydx.ard  and  action  on 
on<-  hall  and  sled  back,  plate,  and  s,  ,nn<  1  i  n-d  >,  ,,n-<  1  ccm  posi  n  -  t  he  ,  u  her  halt,  thus 
enabliuL,'"  delix  ery  up  n.ii  rdw  spuis  ,and  in  cr.miped  quarters,  w  iiere  it  otherwise 
eouhl  mil  be.lelivered  at  ,ill,  .irw.uild  h,i\ c  p.be  subjected  p.  the  risk  of  hauling 
ui),  by  n.pcs  .md  pullevs,  p,  ,,utside  wimhuvs. 

Ind,  pendent  treble  resnn.aPu-  ;    arched,  xiolm-mo.Ud  s,  ,undin,L,-b.  ..u.k 

1  his  insirum.-nl  pla\s  with  both  NX-note  and  ^5-n,,le  music  rolls.  ]{  h.is  ,ill  of 
the  p.ileiPe.l  .uid  exclusive  devices  which  <  1 1  st  i  n  >;u  is  h  the  .\n-.-lus  ,m.l  cm  be  used 
m  no  ..Iher  plaser.  These  ,u-e  tlu'  almost  human  /'///v.v/;/-  /.err/',  the  won.lerful 
.l/e/e, /,////,  llie  .I/cA',/r  /.'///Av/s,  the  Di.ihlini-i),  r>n-/i n,.//i,s  ,md  the  Ih/f'/rA  S/^oo/s. 


(  )ne  of  the  kuL^-est  pi. mo  111 ,  m  u  fa."  t  u  re  rs  in  the  I'liited  .Mates,  w  ho  confessed  that 
his  ,,wii  .iltcaiip;  to  pro.luce  ,i  s.n  isf.ieP  ,r\-  player-piaiio  h.id  been  a  t.ulure,  s,ud,  after 
trxiii-  a  .Schoniacker  ].i,mo;  ' '  I  u  co,-]  x.r.  1 1  e  a  pla\-er  with  that  pi.iiio  ,md  you  will 
lia\e  .111   iiistrmuent   that  will  compel   the  attention  of  ihe  entire  musical  wurld!"' 

lb-  knew  Iroiii  dcMi-  expeiieiue  ill, it  U<A  c\cr\  t^ood  pi, mo  Ul.ide  .1  yood  pkiyer- 
piaiio  ;    that  in  order  to  obl.iiii  llie  best  results  ,i  i  ertaiii  (|u.ilil\-  was  reipiisite,  which 

was  two  \-e,irs  belore  we  m.ide  the  ex])erimenl. 

lielievin^,  ,is  we   did,    that    m.   pi. mo   in    ihe    work!  w.is  belter  ,i<kipP-d    to  the 
pkiy,-r  than  ihe  Schoiiiack.'r,  we  lell  tli.it  the  best  pk.ver  in  the  work!  w.is  none  p.r. 
-ood.      Iherelore,   we    ,irr,m-ed    lor   the   iiileri..r   iiiecli.mism   ,,1    the  .Xn-elus-lhe 
38 


SCHOMACKER  AXGflLOPlAX 
Witli  panels  "pen,  for  automatic  playing 


first — thi-  oriLciii.il  ,in<l,  all  ikKIs,  thr  most  artistic  ])la\'cr  in  the  world — ami  tin- 
result  is  ihc  .\.\(.i;i.(  )1'IAN. 

W  e  do  iHit  apin-ovc  tlic  I m  1  i m  ri m i 1 1 a t c  um-  of  -uprilativrs  in  thr  <U--rrii)tion  of 
pianos  —  a  prac  lire  to  w  liic  h  the  cnlirr  jiiano  fralrniity  is  too  miu'li  addirtcd,  ami 
wiii.li  no  .ompoiH-nt  part  thcn-of  has  so  mil  .lnsliiiiL,dy  used  as  the  makers  of  the 
m.-l   wortlil.-.s  pianos. 

r.iit  it  ^onietime-s  (litTK  uh  to  contemplate  -^uriirisinuly  superlatixn-  results  without 
indukin.i;-  in  su])erlati\e  expre..ioiis,  wlii.  h  uouM  lie  fully  juMitied  in  this  case. 

\\\-  may  say.  however,  thai  the  predicti<in  of  the  manufacturer  referred  to  was 
verified  au<l  his  judgment  \indicated. 

Almost  e\ery  recinisite  to  an  ide.il  player-i)i,inu  is  here  realized: 

The  --mooth,  susl.iined,  sim^ini;  tones  of  the  Angelopian  are  in  i)K-asinsr  contrast 
to  the  shoit,  "tul)l>y,"  unsym])athetic  (piality  of  most  player-i)ianos  a  ciuality 
often  developed,  ,  ,r  ,  h' ce  n  I  u  a  1  <  (I ,  l.y  the  player  mechaiiism  stroke,  even  when  it 
is  hardly  discernil,!.-  in  the  same  piano  if  pkiyed  l.y  hand. 

I  he  al.solnte  control  of  expression  hy  means  <.f  the  "  I'hrasin-  Lever"— which 
is  .il.tainakle  in  no  iila\er  e\(ci)t  the  An-clus,  .and  which  is  almost  ,is  sensitive 
,is  tlu-  human  nerxa-s  .md  cnxcys  the  imi)ulse  of  the  hrain  l.y  me.ms  of  the  fini^er 
tiijs  with  the  r,ipidil\'of  thoiiiiht  renioxes  the  .Xnijelus  pl.iyer  alont-  enl  irely  out 
of  the  realm  of   iustrimients  ih.it  j.roduce  "mechanic.il  music." 

i  he  onlinary  ].i,mo  i.  estimat.-d  P.  a\era.L(e  .il.out  one  hour's  use  i)er  d.iy,  while 
the  |)layer-pi.mo  is  snl.|ected  to  //,-■('  houis'  se\cre  i.layini,^ — ,md\\e  mii^ht  /'/iiiisli- 
nimt — in  some  cases,  'l  iie  j.ec  ular  construction  of  the  .S(dv.macker  enal.les  \i  to 
vl.md  this  strain  Letter  than  any  other  .and  t  he  dural  .i  li  t  y  .  .f  the  Ani,^elus  .acti(.n  has 
keen  demonstrated  as  h.as  none  of  its  imitators;  for  crc/)' ot  Ina'  player  is  only  an 
imitation     uK.re  or  less  kuthful     of  the  Am^elus. 

We  know  ..f  no  technical,  mech.micil  ,.r<.ther  de\ ice  <,r  adv.mta^a-  claimed  for 
other  pl,a\-ei-pianos  ih.ii  is  imt  present  in  the  AuLjelopi.m.  hut  there  are  \-er\-  many 
oriL;inal  and  e.\clusi\c  fe.itures,  l.dth  mechanic.il  and  ton.il,  that  are  found  in  the 
AnL^elopian.   I.ul  in  no  other  similar  instrument. 

Ihe  Anu('l"l'i''ii  cont.iins  the  at;- reL;-,ile  and  ca.mkined  merit,  strent^lh  and 
presti-e  <.l  the  An-.-lii-^  the  acknou  U'd-ed  .irtislic  le.ider  <.f  its  .k.ss  .,s  well  ,as  the 
,iri-inalor  .iml  o|  the  .Sehomacker  I'i.iiio,  \vh,.se  ext  r.n  .rdinar\-  tone  has  c  entered 
the  attention  of  the  music, il  woihl  ol  kale  .ind  whose  triumphs  anted, ite  in  priority 
,md  o\ eish,id(  iw  in  im]iorl,mce  iIk.s,-  ,,f  .niy  <.ther  ])i,mo.  except  the  two  which  were 
its  only  not.ikle  conttmi])or, tries  sexenty  years  a,L,Mi, 
41) 


s( : H () M At: K I-: i-:  a \ ( ; ic L( )p i yv n 

With  panels  closed,  f,.r  manual  playii 


GRAND  PIANO,  5TYLL  A 

L1':.\GTII,  five  fiH-t  l\v<.  inches;   width,  tuur  feet  iiiiu-  inchrs  ;   hiMj^ht,  three 

W'ci^iit,  ahinit  six  hundred  and  sixty-five  pounds;  Ijoxed,  about  nine 
hun(h'ed  and  sixty-tne  ])(iun(U. 

Se\-en  .and  one-tliir<l  oetaxes.      I'inest  ivory  keys  and  ebony  sharps. 

I'l 'ss,  s^iin^--  .1  tdU'  h  that  is  respoiisiw  to  the  utmost  degree,  with  the  best  and 
n';ii-t    -i  ii-,iii\e   .irtion,   haN-in^^^   an    unexiclled   c.ipacity   for   rapid    rei:)etition  and 

Seh  i  ted  MahoL,Mny  cases  of  marked  beauty,  with  exceedingly  graceful  lines 
and  a  notiieably  distinguislu-d  appearance  generally. 

scliomacker  I'.itent  I'.ciuilibre  System  of  Resonant  Steel  Construction  with 
continuous  lient  rim.      Patent  eU-ctro-gold  strings. 

Independent  tri-ble  resonator;  tone-sustaining  pedal;  arched,  violin-motlel 
Mumding-l)oar<l. 

This  diminuti\c  grand  piano  li.is  a  marked  indix'iduality,  strongly  in  contrast 
with  other  grands  ,,f  >iniilar  dimensions,  because  of  the  extr.iordinary  depth  and 
nuisical  (piality  of  the  bass  strings  when  length  is  considered,  miited  w  ith  solidity 
and  jiowt-rof  the  entire  scale  such  as  were  never  before  obtained  from  an  instrument 
of  its  si/e. 

At  the  sanu'  time  there  is  an  ai)pealing  tenderness — a  poetic  cjuality  that  betrays 
the  e,\t  l  aordinary  xcrsatility  .md  the  unprecedented  range  of  expression  for  an 
iii^trumeiil  oj  it>  I  harat  lei-. 

.\lx.\c  tlie  cut  on  opposite-  page  is  vli,,un  a  -ingle  truss  or  leg  which  we  will  be 
-lad  to  snp],ly  in  place  of  the  one  in  the  larger  picture.  If  this  is  desired  it  should 
be  ordi-red  as  Style  A-2. 


42 


GRAND  PIANO,  STYLE  A 


L' 


GRAND  PIANO,  5TYLL  B 

l'.N(.riI,  H\  fret  two  iiicln-s;   width,  four  fcrt  eleven  inches;    heij^^ht,  three 
trri  ^ix  inehe.. 

\\  eii,dit.  aWoiit  se\-eii  hunch-eil  and  tifty  ])oun(ls  ;  l)o.\eil.  ahout  ten 
huiuh'eil  ,inil  lil'ly  pound-. 

Sevn  and  on, -third  ortave..     Idnr^t  ivory  keys  and  el>,,ny  .harp.. 
An  >  \>  c-pti,)n.ill\-  -ymiiatln-tii-  torn  h,  not  too  (K-ei),  and  lij,dit  c-nouf.,di  to  appeal 
to  MK  h  a-  aspire  to  tc  imiral  disjil.iy,  yet  not  laekiiiLC  in  neeessar\-  tirnine...  An 
exlremeiy  sen.llixe  aetion,  h.ixin;.,^  an  nnexeelled  cai^icity  for  rapid  rei)elition  and 
clear  c-nnncialion. 

.-^elected  .Mahoi^anN'  e.,..-.  ot  , ■  x eep I : o,, all y  heautifLil  strain,  with  .yracelul  line, 
an.l  c.nxin-  o|   the  j.oni.  W  period. 

hom.i,  ker  r.ilent  i^iinilikr.-  .Sy.teni  of  Resonant  Steel  Const  met  i<  m  with 
coiitinnon.  kriit  rini.     I'.ilenl  elect  I'o--.  >ld  .trinL;-. 

Indepen.lent  trehle  re.on.it.M-;  tone-Mi.taininii  pedal;  arche.l,  vi.  .lin-niodel 
.oun.hn-d.o.ird. 

I  hi.  i)iano  ha.  e\  or  l.e,-n  known  a.  th.'  "  I'.ahy  "  Lirand  in  contradistinction 
to  the  full  co,u-<-rt  L,Mand  and  the  s,'nii--rand  and  will  i)rol)al)ly  always  retain  its 
ori,L,Mnal  coyiionien,  thonL,di  the  name  has  lo.t  its  early  sii,Miiticance  since  the 
introduction  of  the  .st>le  A  uraiid,   which  is  much  smaller. 

The  .Style  ]!,  with  it.  loiiL^er  strint^s  and  mort-  comi)relu-n.i\e  scale,  still 
remain,  an  excellent  compromi.e  instrument  for  such  as  would  like  the  full  strand, 

l)ul  lack  i-  11.     it  h.i.  ,1  rounci,  deej),  i(  }mmandin}4-  tone  when  forced  ,ind  i.  (]uite 

ei|ual  l>>  \\]'-  kill  ](■(  piii  iiiienls  of  heroic  nu'asures,  yet  i.  under  complete  control 
and  \  I.  Id.  ,,  ih  h.  i  I.mI  I,,,,.-,  full  .,f  ,-oh.r  an.l  of  poetic  .luality,  for  the  expi-essi,,n 
of  rouianlh  them.-.. 

I  .ikiuL;  e\  erythinLC  into  l  oiisiderat ion,  thi.  instrument  ma\'  .till  In'  desii^nated 
a.  the  rei)re.enlat  i\c  i,Mand  and  the  one  hest  adapted  to  the  reciuireiiients  ..f  the 
i.,Meale.t  numkei  inclndinL^  profcioiial  and  semi-professional  musicians,  with 
whom  thi.  piano  i.  in  .unvat  fax.M". 

Ako\e  th.'  cut  on  opiio.ite  pa.i4(-  is  .hown  a  sint^le  truss  or  lei,^  which  we  will  be 
!.d.id  to  supply  in  place  of  the  oiu-  in  the  lari.^er  picture.  If  this  is  ilesired  it  should 
be  ordered  ,,.  Slvle  ]?-_>. 


44 


GRAND  PIAXO,  STYLE  B 


th  P>c0omacfte;t' 


CONCLRT  GRAND  PIANO.   5TYLL  D 

ENGTII,  nine  t\'ct  ;    width,  five  feet  two  inches;    heif^ht,  three  feet  three 
chev 

Weit^ht,  aliiiul  eleven  hundred  and  seventy  pounds;  boxed,  about 
fourteen  hun(h'cd  and  niiifty-t"i\c  pounds. 

Seven  and  one-third  oeta\cs.     I-'ini'st  ivory  keys  and  ebony  >harps. 
An  acti<Mi  ..f  wonderful  freed. ini,  adapted  m  the  <li>play..f  the  niw^t  hiiidied 
teehnie,  w  ith  a  eapaeit\-  f^r  repetition   that   fully  meets  tin-   re(iuirenienls  ,  ,i  the 
niM-t  exaeiin.L^  \irlu..s<i. 

Selerted  .MalmL^.niy  cases  of  j^reat  beauty  for  the  music  room  ;   ebonized  cases 

Schoin.icker  I'ati-iil  f:(iuilil)re  System  of  Resonant  Steel  ( 'onstruction,  with 
continuous  bent   i  iin.     Patent  i-h-el ro-t;.  ,ld  strings. 

Independenl  tr.-ble  resonator;  t.-ne-su^tainin-  pedal;  arched.  \i.  .lin-mo<lel 
sounding-board. 

i'hi^  K-\iathan  of  the  concert  ^tai^c-  i>  ecpial  to  any  re(iui remen ts  that  can  be 
made  ujion  it.  lia\  int^  a  deicree  of  solidity  that  cuniot  be  broken  down  under  the 
mo^t  >e\cre  le-t^  and  with  a  idarit\',  criNjjue^s  and  brilliancy  which  carr\-  each 
note  cleaiU-  to  lii,-  furthest  confnies  of  the  lari^e^t  auditorium,  while  the  thunderous 
ba..  ^lrin-^  .eem  to  build  a  wall  of  Ion.'  like  a  backL^round  for  the  display  of  treble 
c  onir.iM-,  ,ind  the  blendins.^,  lei,Mto  effects  of  ,i  middle  ret,dster  that  ^iiiL^s  like  the 

It  a  piauo  <  ,\  limitless  resource^  and,  w  hen  \'oiced  down  lor  use  in  the  music 
room  oi  stu<li(.,  the  nehness  and  <lepth  are  indescribable. 

The  m.Klilyn-  inlhu-nc  ..I  (he  -ol,l  ^trim^s  has  enabled  us  to  develop  from  this 
hum\  coiucit  jiiano  a  mu^i( -room  in-^Irum^•nt  that  ha>  ne\er  been  e\cn  appio.\i- 
mated  for  warmth  of  tone-color,  control  of  reserve  [jower  and  e.\lraorilinar\'  beauty. 


46 


CONXEKT  GRAND  PIAXO,  STYLE  D 


